Maybe it is better to say I started my career as a young student of art in the ’80s. When I was a student of art — well, we come from the generation where there was an atmosphere that art is something supposedly “serious.” Those who were involved in art education taught us to take art serious — almost excessively — and I was feeling discomfort about the whole art education system. I never really felt there really was not much freedom, and being in the art university’s oil painting department, I was taught to concentrate on oil painting, instead of experimenting on new wave of expressions such as “installation” — that word was still very new by the way [laughs] — or exploring new media. Nonetheless, the decade was terrible.

It is a strange thing to say, but I did grow up among what they call “Kawaii" culture.” I say strange as we all take it for granted. I guess we’ve been exposed to such [kawaii] images without even realizing it. They are everywhere so, it’s always been in my subconscious. I do not take this whole thing too negatively, but still I am a man, I am not fanatically into what is considered kawaii in general. I guess you could say that I do incorporate the idea, or what I consider kawaii into my work unconsciously.

Narrated 'Aisha: I used to play with the dolls in the presence of the Prophet, and my girl friends also used to play with me. When Allah's Apostle used to enter (my dwelling place) they used to hide themselves, but the Prophet would call them to join and play with me. (The playing with the dolls and similar images is forbidden, but it was allowed for 'Aisha at that time, as she was a little girl, not yet reached the age of puberty.) (Fateh-al-Bari page 143, Vol.13)

Any great work of art … revives and readapts time and space, and the measure of its success is the extent to which it makes you an inhabitant of that world — the extent to which it invites you in and lets you breathe its strange, special air.

Growing up I would spend hours…days in my room creating animal drawings and paintings. I was always fascinated by the animal world. To my parent’s credit, they were very tolerant of my habit of picking up fresh road kill and storing them in the freezer so that I could pose them at a later date and do paintings of them. I actually entered a city wide art show at age 15 with a painting of a Red Shouldered Hawk that I had found on the side of the road. I pinned it up on the wall and posed it as if it were doing a hard bank in flight. I won the art show. My first win.

A writer — and, I believe, generally all persons — must think that whatever happens to him or her is a resource. All things have been given to us for a purpose, and an artist must feel this more intensely. All that happens to us, including our humiliations, our misfortunes, our embarrassments, all is given to us as raw material, as clay, so that we may shape our art.

Art today can only be revolutionary, that is, it must aspire at the complete and radical reconstruction of society, even if for no other reason than to emancipate intellectual creation from the chains which obstruct it and to allow all mankind to rise to the heights that only geniuses could reach in the past.

How in its naked selfReason wer powerless showeth when philosophers
wil treat of Art, the which they are full ready to do,
having good intuition that their master-key
may lie therein: but since they must lack vision of Art
(for elsewise they had been artists, not philosophers)
they miss the way; and ev'n the Greeks themselves, supreme
in making as in thinking, never of their own art
found the true hermeneutick.

Now nature is not at variance with art, nor art with nature; they being both the servants of his providence. Art is the perfection of nature. Were the world now as it was the sixth day, there were yet a chaos. Nature hath made one world, and art another. In brief, all things are artificial; for nature is the art of God.

What is art
But life upon the larger scale, the higher,
When, graduating up in a spiral line
Of still expanding and ascending gyres,
It pushed toward the intense significance
Of all things, hungry for the Infinite?
Art's life—and where we live, we suffer and toil.

It is the glory and good of Art,
That Art remains the one way possible
Of speaking truth, to mouths like mine at least.

Robert Browning, The Ring and the Book, The Book and the Ring, line 842. In Hoyt's New Cyclopedia Of Practical Quotations (1922), p. 43-45.

The Neo-Platonic background, which furnished the metaphysical justification for much of this mathematical development (at least as regards its bearing on astronomy) awoke Kepler's full conviction and sympathy. Especially did the aesthetic satisfactions gained by this conception of the universe as a simple, mathematical harmony, appeal vigorously to his artistic nature.

The purpose of art is expression. Of course this short sentence raises many questions. By itself it is uninformative. One should specify what art can and cannot express. One should specify what art should and should not express. These questions cannot be answered without having some notion of the nature of man. Here it is presupposed that God created man as essentially a rational being. This implies that man’s most valuable expressions are rational and intellectual. Therefore, although man can express emotion, by screaming “Ouch,” art becomes more human and valuable in proportion to its intellectual content. This does not deny that excellent technique may express triviality, evil, and insanity. It asserts, however, that what should be expressed is rational and intelligent.

All creative art is magic, is evocation of the unseen in forms persuasive, enlightening, familiar and surprising, for the edification of mankind, pinned down by the conditions of its existence to the earnest consideration of the most insignificant tides of reality.

Art is the complement of science. Science as I have said is concerned wholly with relations, not with individuals. Art, on the other hand, is not only the disclosure of the individuality of the artist but also a manifestation of individuality as creative of the future, in an unprecedented response to conditions as they were in the past. Some artists in their vision of what might be but is not, have been conscious rebels. But conscious protest and revolt is not the form which the labor of the artist in creation of the future must necessarily take. Discontent with things as they are is normally the expression of the vision of what may be and is not, art in being the manifestation of individuality is this prophetic vision.

Art is not the possession of the few who are recognized writers, painters, musicians; it is the authentic expression of any and all individuality. Those who have the gift of creative expression in unusually large measure disclose the meaning of the individuality of others to those others. In participating in the work of art, they become artists in their activity. They learn to know and honor individuality in whatever form it appears. The fountains of creative activity are discovered and released. The free individuality which is the source of art is also the final source of creative development in time.

...the significant problems and issues of life and philosophy concern the rate and mode of the conjunction of the precarious and the assured, the incomplete and the finished, the repetitious and the varying, the safe and sane and the hazardous. ...these traits, and the modes and tempos of their interaction with each other, are fundamental features of natural existence. The experience of their various consequences, according as they are relatively isolated, unhappily or happily combined, is evidence that wisdom, and hence the love of wisdom which is philosophy, is concerned with choice and administration of their proportioned union. Structure and process, substance and accident, matter and energy, permanence and flux, one and many, continuity and discreetness, order and progress, law and liberty, uniformity and growth, tradition and innovation, rational will and impelling desires, proof and discovery, the actual and the possible, are names given to various phases of their conjunction, and the issue of living depends upon the art with which these things are adjusted to each other.

John Dewey, "Existence as Precarious and as Stable", Experience and Nature (1925).

...The self-portrait is masturbation in art.

Daniel Arzola, Mandala Journal University of Georgia's Institute for African American Studies. (2014).

There is an art of reading, as well as an art of thinking, and an art of writing.

All religions, arts and sciences are branches of the same tree. All these aspirations are directed toward ennobling man's life, lifting it from the sphere of mere physical existence and leading the individual towards freedom. It is no mere chance that our older universities developed from clerical schools. Both churches and universities — insofar as they live up to their true function — serve the ennoblement of the individual. They seek to fulfill this great task by spreading moral and cultural understanding, renouncing the use of brute force.

Albert Einstein, "Moral Decay" (1937); later published in Out of My Later Years (1950)

What happens when a new work of art is created, is something that happens simultaneously to all the works of art which preceded it. The existing monuments form an ideal order among themselves, which is modified by the introduction of the new (the really new) work of art among them. The existing order is complete before the new work arrives; for order to persist after the supervention of novelty, the whole existing order must be, if ever so slightly, altered; and so the relations, proportions, values of each work of art toward the whole are readjusted; and this is conformity between the old and the new.

In the far north, where humans must face the constant threat of starvation, where life is reduced to the bare essentials—it turns out that one of these essentials is art. Art seems to belong to the basic pattern of life of the Eskimo, and of the neighboring Athapaskan and Algonkian Indian bands as well.

No government has the right to decide on the truth of scientific principles, nor to prescribe in any way the character of the questions investigated. Neither may a government determine the aesthetic value of artistic creations, nor limit the forms of literacy or artistic expression. Nor should it pronounce on the validity of economic, historic, religious, or philosophical doctrines. Instead it has a duty to its citizens to maintain the freedom, to let those citizens contribute to the further adventure and the development of the human race.

Richard Feynman, "The Uncertainty of Values", in The Meaning of It All: Thoughts of a Citizen Scientist (1999)

Reason...to suppose any production, worthy to be called a work of art, can be made without its use is foolish. ...By the use of reason many mistakes in design may be avoided and many counterfeits of art readily detected....Beauty alone is an excellent reason for many things, but when a design is in direct conflict with common sense it cannot be a work of art.

Ernest Flagg, Small Houses: Their Economic Design and Construction (1922)

A master in art need not go into the highways and byways for affects; he knows the straight course and follows it. ...With dignity and simplicity come repose... the natural state of one at home in his surroundings and sure of his ground.

Ernest Flagg, Small Houses: Their Economic Design and Construction (1922)

One must not always think that feeling is everything. Art is nothing without form. (12 August 1846)

One becomes a critic when one cannot be an artist, just as a man becomes a stool pigeon when he cannot be a soldier. (22 October 1846)

You can calculate the worth of a man by the number of his enemies, and the importance of a work of art by the harm that is spoken of it. (14 June 1853).

"Collective art,"… is not an individual "leisure time" occupation, added to life, it is an integral part of life. It corresponds to a basic human need, and if this is not fulfilled, man remains as insecure and anxious as if the need for a meaningful thought picture of the world were unrealized.

In order to grow out of the receptive into the productive orientation, he [man] must relate himself to the world artistically and not only philosophically or scientifically.

Erich Fromm, The Sane Society (1955)

There is undoubtedly a difference between people who manipulate other people and people who create things.

Erich Fromm, The Sane Society (1955)

A relatively primitive village in which there are still real feasts, common artistic shared expressions, and no literacy at all—is more advanced culturally and more healthy mentally than our educated, newspaper-reading radio-listening culture.

Erich Fromm, The Sane Society (1955)

The need for the creation of collective art and ritual on a nonclerical basis is at least as important as literacy and higher education.

Erich Fromm, The Sane Society (1955)

The transformation of an atomistic into a communitarian society depends on creating again the opportunity for people to sing together, walk together, dance together, admire together—together, and not, to use Riesman's succinct expression, as a member of a "lonely crowd."

Erich Fromm, The Sane Society (1955)

On the whole, our modern ritual is impoverished and does not fulfill man's need for collective art and ritual.

Erich Fromm, The Sane Society (1955)

But there is a solution, there is an answer, there is redemption available for all of us and any one of us, and to the Catholic Church, funny enough I think it is a novel by Morris West, The Pope could decide that all this power, all this wealth, this hierarchy of princess, bishops, archbishops, priests, monks, and nuns could be sent out in the world with money and art treasures, to put them back in the countries that they once raped and violated, whose original systems of animism and belief in simplicity they told them would (tell them) take them straight to hell. They could give that money away, and they could concentrate on the apparent essence of their belief. Then, I would stand here and say the Catholic Church may well be a force for good in the world. But until that day, it is NOT.

Stephen FryIntelligence²: "The Catholic church is a force for good in the world", November 7th 2009 [2]

Do we not say that the judicious discovering of a most lovely Statua in a piece of Marble, hath sublimated the wit of Buonarruotti far above the vulgar wits of other men? And yet this work is onely the imitation of a meer aptitude and disposition of exteriour and superficial mem­bers of an immoveable man; but what is it in comparison of a man made by nature, composed of as many exteriour and inte­riour members, of so many muscles, tendons, nerves, bones, which serve to so many and sundry motions? but what shall we say of the senses, and of the powers of the soul, and lastly, of the understanding? May we not say, and that with reason, that the structure of a Statue falls far short of the formation of a living man, yea more of a contemptible worm?

If I behold a statue of some excellent master, I say with my self: "When wilt thou know how to chizzle away the refuse of a piece of Marble, and discover so lovely a figure as lyeth hid therein? When wilt thou mix and spread so many colors upon a Cloth, or Wall, and represent therewith all visible objects, like a Michael Angelo, a Raphaello, or a Tizvano? If I behold what invention men have had in comparting Musical intervals, in establishing Precepts and Rules for the management thereof with admirable delight to the ear, when shall I cease my astonishment? What shall I say of such and so various instruments of that Art? The reading of excellent Poets, with what admiration doth it swell anyone who attentively considereth the invention of concepts and their explanation? What shall we say of Architecture? What of Navigation? But, above all other stupendous inventions, what sublimity of mind was that in him, that imagined to himself to find out a way to communicate his most secret thoughts to any other person, though very far distant from him either in time or place, speaking with those that are in the Indies, speaking to those who are not yet born, nor shall be this thousand, or ten thousand years? And with how much facility? but by the various collection of twenty-four little letters upon a paper?

As all Nature's thousand changes
But one changeless God proclaim;
So in Art's wide kingdom ranges
One sole meaning still the same:
This is Truth, eternal Reason,
Which from Beauty takes its dress,
And serene through time and season
Stands for aye in loveliness.

The perfection of an art consists in the employment of a comprehensive system of laws, commensurate to every purpose within its scope, but concealed from the eye of the spectator; and in the production of effects that seem to flow forth spontaneously, as though uncontrolled by their influence, and which are equally excellent, whether regarded individually, or in reference to the proposed result.

John Mason Good, The Book of Nature, Series 1, Lecture LX In Hoyt's New Cyclopedia Of Practical Quotations (1922), p. 43-45.

The artistic decline we are seeing culturally is very prominent, very clear right now if you just look at what people are accepting as art. It affects me personally because art culture is something so important to me; art affects me and it means so much to me whether it be music, literature, fashion, design, fine art — it's all so important, I think it's really what, at least for me, it's what life is about, it’s what’s important, it’s what’s moving, it’s what inspires you, it’s what life is about. So when we’re seeing such decline in that art culture right now it’s heartbreaking to me.

This is precisely what is decisive in Nietzsche’s conception of art, that he sees it in its essential entirety in terms of the artist; this he does consciously and in explicit opposition to that conception of art which represents it in terms of those who “enjoy” and “experience” it. That is a guiding principle of Nietzsche’s teaching on art: art must be grasped in terms of creators and producers, not recipients. Nietzsche expresses it unequivocally in the following words (WM, 811): “Our aesthetics heretofore has been a woman’s aesthetics, inasmuch as only the recipients of art have formulated their experiences of ‘what is beautiful.’ In all philosophy to date the artist is missing.” Philosophy of art means “aesthetics” for Nietzsche too—but masculine aesthetics, not feminine aesthetics. The question of art is the question of the artist as the productive, creative one; his experiences of what is beautiful must provide the standard.

One thing, however, did become clear to him [Goldmund] – why so many perfect works of art did not please him at all, why they were almost hateful and boring to him, in spite of a certain undeniable beauty. Workshops, churches, and palaces were full of these fatal works of art; he had even helped with a few himself. They were deeply disappointing because they aroused the desire for the highest and did not fulfill it. They lacked the most essential thing – mystery. That was what dreams and truly great works of art had in common: mystery.

In proportion as we add to mere variety a higher appreciation of those adaptations of matter which are due to human skill, and which we call Art, we pass outside the limits of matter and are no longer the slaves of roods and acres and a law of diminishing returns.

John A. Hobson, The Evolution of Modern Capitalism: A Study of Machine Production (1906)

In proportion as a community comes to substitute a qualitative for a quantitative standard of living, it escapes the limitations imposed by matter upon man. Art knows no restrictions of space or size, and in proportion as we attain the art of living we shall be likewise free.

John A. Hobson, The Evolution of Modern Capitalism: A Study of Machine Production (1906)

Edward G. Robinson: Who knows, the woman who posed for the Mona Lisa might have been the evilest woman in the world.

My idea of a perfect surrealist painting is one in which every detail is perfectly realistic, yet filled with a surrealistic, dreamlike mood. And the viewer himself can't understand why that mood exists, because there are no dripping watches or grotesque shapes as reference points. That is what I'm after: that mood which is apart from everyday life, the type of mood that one experiences at very special moments.

I remember some artists who said this world isn't worth anything, that it is a pigsty, that we are going nowhere, that God is dead, and all those things. Bad literature is this. To expose your navel, to tell how you drank your morning coffee amid general disgust, with everything around you rotting. While the world is dying, I drink my coffee. Or I perform my little sex acts. This is old-fashioned. One must cross this neurotic curtain.

The Christianocategori, or Accusers of Christians, are such and are so called, because those Christians who worship one living and true God praised in Trinity they accused of worshiping as gods, after the manner of the Greeks, the venerable images of our Lord Jesus Christ, of our immaculate lady, the holy Mother of God, of the holy angels, and of His saints. They are furthermore called Iconoclasts, because they have shown deliberate dishonor to all these same holy and venerable images and have consigned them to be broken up and burnt.
Likewise, some of those painted on walls they have scraped off, while others they have obliterated with whitewash and black paint. They are also called Thymoleontes, or Lion-hearted, because, taking advantage of their authority, they have with great heart given strength to their heresy and with torment and torture visited vengeance upon those who approve of the images.

Most historians of science, when they mention Kaluza's work at all, say that the idea of the fifth dimension was a bolt out of the blue, totally unexpected and original. ...But their amazement is probably due to their unfamiliarity with the nonscientific work of the mystics, literati, and avante garde. ...because of Hinton, Zollner, and others, the possible existence of higher dimensions was probably the single most popular quasi-scientific idea circulating within the arts. ...the work of Riemann pollinated the world of arts and letters via Hinton and Zollner, and then probably cross-pollinated back into the world of science through the work of Kaluza.

Michio Kaku, Hyperspace: A Scientific Odyssey Through Parallel Universes, Time Warps, and the 10th Dimension (1995).

The function of the modern artist was not to convey beauty, but to convey new truths.

All the art since the Renaissance seemed too men-oriented. I liked (the) object quality. An Egyptian pyramid, a Sung vase, the Romanesque church appealed to me. The forms found in the vaulting of a cathedral or even a splatter of tar on the road seemed more valid and instructive and a more voluptuous experience than either geometric or action painting.

Three men riding on a bicycle which has only one wheel, I guess that's surrealist.

Dong Kingman, Twenty-two Famous Painters and Illustrators Tell How They Work (1964).

Most artists are surrealists. … always dreaming something and then they paint it.

Dong Kingman, Twenty-two Famous Painters and Illustrators Tell How They Work (1964).

We have learned to whittle the Eden Tree to the shape of a surplice peg,
We have learned to bottle our parents twain in the yelk of an addled egg.
We know that the tail must wag the dog, for the horse is drawn by the cart,
But the devil whoops, as he whooped of old; It's clever, but is it art?

Rudyard Kipling, The Conundrum of the Workshops. In Hoyt's New Cyclopedia Of Practical Quotations (1922), p. 43-45.

The more minimal the art, the more maximum the explanation.

Hilton Kramer, The New York Times art critic, in the late 1960s when the term "minimal art" was in vogue; reported in Respectfully Quoted: A Dictionary of Quotations (1989).

In Science the paramount appeal is to the Intellect — its purpose being instruction; in Art, the paramount appeal is to the Emotions — its purpose being pleasure. A work of Art must of course indirectly appeal to the Intellect, and a work of Science will also indirectly appeal to the Feelings; nevertheless a poem on the stars and a treatise on astronomy have distinct aims and distinct methods. But having recognised the broadly-marked differences, we are called upon to ascertain the underlying resemblances. Logic and Imagination belong equally to both. It is only because men have been attracted by the differences that they have overlooked the not less important affinities.

One cannot condemn tendencies in art; one can only condemn works of art. To be categorically against a current art tendency or style means, in effect, to pronounce on works of art not yet created and not yet seen. It means inquiring into the motives of artists instead of into results. Yet we all know — or are supposed to know — that results are all that count in art.

The Art Snob can be recognized in the home by the quick look he gives the pictures on your walls, quick but penetrating, as though he were undressing them. This is followed either by complete and pained silence or a comment such as 'That's really a very pleasant little water color you have there.'

The Art Snob will stand back from a picture at some distance, his head cocked slightly to one side. … After a long period of gazing (during which he may occasionally squint his eyes), he will approach to within a few inches of the picture and examine the brushwork; he will then return to his former distant position, give the picture another glance and walk away.

Instinct and study; love and hate;
Audacity — reverence. These must mate,
And fuse with Jacob's mystic heart,
To wrestle with the angel — Art. ~ Herman Melville

A genuine work of art mustmean many things; the truer its art, the more things it will mean. If my drawing, on the other hand, is so far from being a work of art that it needs THIS IS A HORSE written under it, what can it matter that neither you nor your child should know what it means? It is there not so much to convey a meaning as to wake a meaning. If it do not even wake an interest, throw it aside. A meaning may be there, but it is not for you. If, again, you do not know a horse when you see it, the name written under it will not serve you much.

Art does not imitate, but interpret. It searches out the idea lying dormant in the symbol, in order to present the symbol to men in such form as to enable them to penetrate through it to the idea. Were it otherwise, what would be the use or value of art?

What do we do when things are hard to describe? We start by sketching out the roughest shapes to serves as scaffolds for the rest; it does not matter very much if some of those forms turn out partially wrong. Next, draw details to give these skeletons more life-like flesh. Last, in the final filling-in, discard whatever first ideas no longer fit. ...Until you've seen some of the rest, you can't make sense of any part.

If it is a dying craft we can't do anything about it. Civilisation moves on. Where are all the fresco painters now? Where are the landscape artists? What are they doing now? The world is changing. I have been very fortunate to be able to do the same job for 40 years. That's rare in any era.

Actually I think CGI has the potential to equal or even surpass what the human hand can do.

This sudden importance of art—an importance discovered by ideological movements, by the State, and by the business world—has made the artist a central figure on the public place. His earlier revolt against society, his marginal role as an entertainer, have of course predestined him to the role of an ally of all progressive movements that promise a universal society, that is, a universal public for his books, poems, paintings and partitions. His shudder before the ugliness of capitalist civilization, his isolation from the masses whose warmth and understanding he genuinely needs, make him an ideal, because uncritical, partner of the progressive ideologues who preach the overthrow of all that he hates.

Thomas Molnar, The Decline of the Intellectual (1961) Ch. 4 "The Intellectual as a Progressive"

The more I look at most of the art movements, it’s all occultism, when you get down to it. The Surrealists were openly talking about being magicians.

Annie Besant’s book where she put forward the idea that theosophical mystical energies could be portrayed as colours or abstract shapes was practically the invention of abstract art. A lot of artists rushed out and read it and suddenly thought, ‘oh God you could, you could portray love as a colour, or depression as a colour” All of a sudden abstract art happens, a flowering out of occultism.

I don’t distinguish between magic and art. When I got into magic, I realised I had been doing it all along, ever since I wrote my first pathetic story or poem when I was twelve or whatever. This has all been my magic, my way of dealing with it.

Alan Moore, from an "Alan Moore Interview" by Matthew De Abaitua (1998), later published in Alan Moore: Conversations (2011) edited by Eric L. Berlatsky.

I saw no reason why you couldn't create a work of pornography that adhered to all the same standards as the best art or literature. The big difference between art and pornography is that art, at its best, makes you feel less alone. You see a painting or read a piece of writing that expresses a thought that you had but didn't express, and you suddenly feel less alone. Pornography, on the other hand, tends to engender feelings of self-disgust, isolation and wretchedness. I wanted to change that.

One... characteristic of medieval space must be noted: space and time form two relatively independent systems. First: the medieval artist introduced other times within his own spatial world, as when he projected the events of Christ's life within a contemporary Italian city, without the slightest feeling that the passage of time has made a difference, just as in Chaucer the classical legend of Troilus and Cressida is related as if it were a contemporary story. When a medieval chronicler mentions the King... it is sometimes difficult to find out whether he is talking about Caeser or Alexander the Great or his own monarch: each is equally near to him. ...the word anachronism is meaningless when applied to medieval art... in Botticelli's The Three Miracles of St. Zenobius, three different times are presented upon a single stage.

Once the major wants of mankind are satisfied by the machine process, our factory system must be on a basis of regular annual replacement instead of progressive expansion—not on a basis of premature replacement through debauched workmanship, adulterated materials, and grossly stimulated caprice. "The case," as Mr. J. A. Hobson again puts it, "is a simple one. A mere increase in the variety of our material consumption relieves the strain imposed upon man by the limits of the material universe, for such a variety enables him to utilize a larger proportion of the aggregate matter. But in proportion as we add to mere variety a higher appreciation of those adaptations of matter which are due to human skill, which we call Art, we pass outside the limit of matter and are no longer slaves of roods and acres and a law of diminishing returns." In other words: a genuine standard, once the vital physical wants are satisfied, tends to change the plane of consumption and therefore to limit, in a considerable degree, the extent of further mechanical enterprise.

Thus the man who is responsive to artistic stimuli reacts to the reality of dreams as does the philosopher to the reality of existence; he observes closely, and he enjoys his observation: for it is out of these images that he interprets life, out of these processes that he trains himself for life.

Greek tragedy met her death in a different way from all the older sister arts: she died tragically by her own hand, after irresolvable conflicts, while the others died happy and peaceful at an advanced age. If a painless death, leaving behind beautiful progeny, is the sign of a happy natural state, then the endings of the other arts show us the example of just such a happy natural state: they sink slowly, and with their dying eyes they behold their fairer offspring, who lift up their heads in bold impatience. The death of Greek tragedy, on the other hand, left a great void whose effects were felt profoundly, far and wide; as once Greek sailors in Tiberius' time heard the distressing cry 'the god Pan is dead' issuing from a lonely island, now, throughout the Hellenic world, this cry resounded like an agonized lament: 'Tragedy is dead! Poetry itself died with it! Away, away with you, puny, stunted imitators! Away with you to Hades, and eat your fill of the old masters' crumbs!'

But for Socrates, tragedy did not even seem to "tell what's true", quite apart from the fact that it addresses "those without much wit", not the philosopher: another reason for giving it a wide berth. Like Plato, he numbered it among the flattering arts which represent only the agreeable, not the useful, and therefore required that his disciples abstain most rigidly from such unphilosophical stimuli — with such success that the young tragedian, Plato, burnt his writings in order to become a pupil of Socrates.

We cannot help but see Socrates as the turning-point, the vortex of worldhistory. For if we imagine that the whole incalculable store of energy used in that global tendency had been used not in the service of knowledge but in ways applied to the practical — selfish — goals of individuals and nations, universal wars of destruction and constant migrations of peoples would have enfeebled man's instinctive zest for life to the point where, suicide having become universal, the individual would perhaps feel a vestigial duty as a son to strangle his parents, or as a friend his friend, as the Fiji islanders do: a practical pessimism that could even produce a terrible ethic of genocide through pity, and which is, and always has been, present everywhere in the world where art has not in some form, particularly as religion and science, appeared as a remedy and means of prevention for this breath of pestilence.

Science, spurred by its powerful illusion, speeds irresistibly towards its limits where its optimism, concealed in the essence of logic, suffers shipwreck. For the periphery of the circle of science has an infinite number of points...noble and gifted men...reach...inevitably, such boundary points on the periphery from which one gazes into what defies illumination. When they see to their horror how logic coils up at these boundaries and finally bites its own tail-suddenly the new form of insight breaks through, tragic insight which, merely to be endured, needs art as a protection and a remedy.

Only by forgetting this primitive world of metaphor can one live with any repose, security, and consistency: only by means of the petrification and coagulation of a mass of images which originally streamed from the primal faculty of human imagination like a fiery liquid, only in the invincible faith that this sun, this window, this table is a truth in itself, in short, only by forgetting that he himself is an artistically creating subject, does man live with any repose, security, and consistency. If but for an instant he could escape from the prison walls of this faith, his "self consciousness" would be immediately destroyed.

The Art of a well-developed genius is far different from the Artfulness of the Understanding, of the merely reasoning mind.Shakspeare was no calculator, no learned thinker; he was a mighty, many-gifted soul, whose feelings and works, like products of Nature, bear the stamp of the same spirit; and in which the last and deepest of observers will still find new harmonies with the infinite structure of the Universe; concurrences with later ideas, affinities with the higher powers and senses of man. They are emblematic, have many meanings, are simple and inexhaustible, like products of Nature; and nothing more unsuitable could be said of them than that they are works of Art, in that narrow mechanical acceptation of the word.

Were art to redeem man, it could do so only by saving him from the seriousness of life and restoring him to an unexpected boyishness. The symbol of art is seen again in the magic flute of the Great God Pan which makes the young goats frisk at the edge of the grove.All modern art begins to appear comprehensible and in a way great when it is interpreted as an attempt to instill youthfulness into an ancient world.

José Ortega y Gasset, in "Art a Thing of No Consequence", The Dehumanization of Art and Ideas about the Novel [La deshumanización del Arte e Ideas sobre la novela] (1925).

Can God, the creator of the universe, be compared to such an ugly, horrible, disgraceful doll?

The Nefertiti bust is one of the most popular art works in the world. It is printed on scarves and molded in necklace pendants and coffee-table miniatures. But never in my experience is the bust exactly reproduced. The copyist softens it, feminizes it and humanizes it. The actual bust is intolerably severe. It is too uncanny an object for domestic display. Even art books lie. The bust is usually posed in profile or at an angle, so that the missing left pupil is hidden or shadowed. What happened to the eye?

In crossing a heath, suppose I pitched my foot against a stone and were asked how the stone came to be there, I might possibly answer that for anything I knew to the contrary it had lain there forever; nor would it, perhaps, be very easy to show the absurdity of this answer. But suppose I found a watch upon the ground, and it should be inquired how the watch happened to be in that place, I should hardly think of the answer which I had given, that for anything I knew the watch might have always been there. Yet why should not this answer serve for the watch as well as for the stone; why is it not admissible in that second case as in the first? For this reason, and for no other, namely, that when we come to inspect the watch, we perceive — what we could not discover in the stone — that its several parts are framed and put together for a purpose, e.g., that they are so formed and adjusted as to produce motion, and that motion so regulated as to point out the hour of the day; that if the different parts had been differently shaped from what they are, or placed in any other manner or in any other order than that in which they are placed, either no motion at all would have carried on in the machine, or none which would have answered the use that is now served by it.
This mechanism being observed … the inference we think is inevitable, that the watch must have had a maker — that there must have existed, at some time and at some place or other, an artificer or artificers who formed it for the purpose which we find it actually to answer, who comprehended its construction and designed its use.
Nor would it, I apprehend, weaken the conclusion, that we had never seen a watch made; that we had never known an artist capable of making one; that we were altogether incapable of executing such a piece of workmanship ourselves, or of understanding in what manner it was performed; all this being no more than what is true of some exquisite remains of ancient art, of some lost arts, and, to the generality of mankind, of the more curious productions of modern manufacture.

We said we’d never make a video game unless we really did it hands-on. We’re both gamers, we both grew up as gamers and we both respect gaming as an art form, just like musical theatre so to us it wasn’t just ‘oh go and do something like that’. Once we’d finished Book of Mormon, Stick of Truth really was our other big project, and right now it’s this.

Art and music make manifest, by bringing into conscious awareness, that which has previously been felt only tentatively and internally. Art, in its widest sense, is a form of play that lies at the origin of all making, of language, and of the mind's awareness of its place within the world. Art, in all its forms, makes manifest the spiritual dimension of the cosmos, and expresses our relationship to the natural world. This may have been the cause of that natural light which first illuminated the preconscious minds of early hominids.

In the twentieth century, modernism and postmodernism took over, and their practitioners disdained beauty as bourgeois, saccharine, lightweight. Art was deliberately made incomprehensible or ugly or shocking... on the assumption that our predilections... were reversible social constructions. This also led to an exaggeration of the dynamic of social status that has always been part of the arts. The elite arts used to be aligned with the economic and political aristocracy. They involved displays of sumptuosity and the flaunting of rare and precious skills that only the idle rich could cultivate. But now that any schmo could afford a Mozart CD or go to a free museum, artists had to figure out new ways to differentiate themselves from the rabble. So art became baffling and uninterpretable—unless you had some acquaintance with arcane theory.

Things are not all so comprehensible and expressible as one would mostly have us believe; most events are inexpressible, taking place in a realm which no word has ever entered, and more inexpressible than all else are works of art, mysterious existences, the life of which, while ours passes away, endures. ~ Rainer Maria Rilke

What I am searching for... is some formula that would combine individual initiative with universal values, and that combination would give us a truly organic form. Form, which we discover in nature by analysis, is obstinately mathematical in its manifestations—which is to say that creation in art requires thought and deliberation. But this is not to say that form can be reduced to a formula. In every work of art it must be re-created, but that too is true of every work of nature. Art differs from nature not in its organic form, but in its human origins: in the fact that it is not God or a machine that makes a work of art, but an individual with his instincts and intuitions, with his sensibility and his mind, searching relentlessly for the perfection that is neither in mind nor in nature, but in the unknown. I do not mean this in an other-worldly sense, only that the form of the flower is unknown to the seed.

Things are not all so comprehensible and expressible as one would mostly have us believe; most events are inexpressible, taking place in a realm which no word has ever entered, and more inexpressible than all else are works of art, mysterious existences, the life of which, while ours passes away, endures.

That is what Castle's work needed: a beginner's eye—my eye, before it became too schooled and guarded, while it was still in touch with the vulgar foundations of the art, still vulnerably naive enough to receive that faint and flickering revelation of the dark god whose scriptures are the secret history of the movies.

The bond of sympathy, like the artist's eye for beauty, may stretch across many divisions.

Theodore Roszak, The Gendered Atom: Reflections on the Sexual Psychology of Science (1999).

I am willing to let it rest on the determination of every reader, whether the pleasure which he has received from these effects of calm and luminous distance be not the most singular and memorable of which he has been conscious... It is not then by nobler form, it is not by positiveness of hue, it is not by intensity of light... that this strange distant space possesses its attractive power. But there is one thing that it has, or suggests, which no other object of sight suggests in equal degree, and that is—Infinity. ...No work of any art, in which this expression of infinity is possible, can be perfect or supremely elevated, without it.

The role of art is to make a world which can be inhabited. ~ William Saroyan

The universe was made on purpose, the circle said. In whatever galaxy you happen to find yourself, you take the circumference of a circle, divide it by its diameter, measure closely enough, and uncover a miracle — another circle, drawn kilometers downstream of the decimal point. There would be richer messages farther in. It doesn't matter what you look like, or what you're made of, or where you come from. As long as you live in this universe, and have a modest talent for mathematics, sooner or later you'll find it. It's already here. It's inside everything. You don't have to leave your planet to find it. In the fabric of space and in the nature of matter, as in a greatwork of art, there is, written small, the artist’s signature. Standing over humans, gods, and demons, subsuming Caretakers and Tunnel builders, there is an intelligence that antedates the universe.

In a field of ripening corn I came to a place which had been trampled down by some ruthless foot; and as I glanced amongst the countless stalks, every one of them alike, standing there so erect and bearing the full weight of the ear, I saw a multitude of different flowers, red and blue and violet. How pretty they looked as they grew there so naturally with their little foliage! But, thought I, they are quite useless; they bear no fruit; they are mere weeds, suffered to remain only because there is no getting rid of them. And yet, but for these flowers, there would be nothing to charm the eye in that wilderness of stalks. They are emblematic of poetry and art, which, in civic life—so severe, but still useful and not without its fruit—play the same part as flowers in the corn.

It holds up in one object or one surface, in one bright, luminous and concentrated thing — whether a beer can or a flag — all the dispersed elements that go to make up our lives.

Robert C. Scull on his collection of pop and minimal art, Time (21 February 1964).

After a few months in my parents' basement, I took an apartment near the state university, where I discovered both crystal methamphetamine and conceptual art. Either one of these things are dangerous, but in combination they have the potential to destroy entire civilizations.

In the largest sense, every work of art is protest. … A lullaby is a propaganda song and any three-year-old knows it. … A hymn is a controversial song — sing one in the wrong church: you'll find out. ...

Art is the magicmirror you make to reflect your invisible dreams in visible pictures. You use a glass mirror to see your face: you use works of art to see your soul. But we who are older use neither glass mirrors nor works of art. We have a direct sense of life. When you gain that you will put aside your mirrors and statues, your toys and your dolls.

I believe that art is the greatest outcome of imitating nature, as Greek philosopher Aristotle once said.

We take it for granted that in traditional arts and culture an artist develops his skill and aesthetics by imitating a master or by repeating a motif. The Japanese word “nazorae,” which means simulation or transformable imitation, sums up the quintessential strength of Japanese traditional art to achieve ultimate beauty.

Under the impulse of such ideas [upon which an Acquisitive Society is based] men do not become religious or wise or artistic; for religion and wisdom and art imply the acceptance of limitations. But they become powerful and rich. They inherit the earth and change the face of nature, if they do not possess their own souls; and they have that appearance of freedom which consists in the absence of obstacles between opportunities for self-advancement and those whom birth or wealth or talent or good fortune has placed in a position to seize them.

Art is a human activity consisting in this, that one consciously, by means of certain external symbols, conveys to others the feelings one has experienced, whereby people so infected by these feelings, also experience them.

In order to correctly define art, it is necessary, first of all, to cease to consider it as a means to pleasure and consider it as one of the conditions of human life. ...Reflecting on it in this way, we cannot fail to observe that art is one of the means of effective communication between people.

The very object of an art, the principle of its artifice, is precisely to impart the impression of an ideal state in which the man who reaches it will be capable of spontaneously producing, with no effort of hesitation, a magnificent and wonderfully ordered expression of his nature and our destinies.

The superior gratification derived from the use and contemplation of costly and supposedly beautiful products is, commonly, in great measure a gratification of our sense of costliness masquerading under the name of beauty.

Any valuable object in order to appeal to our sense of beauty must conform to the requirements of beauty and of expensiveness both. But this is not all. Beyond this the canon of expensiveness also affects our tastes in such a way as to inextricably blend the marks of expensiveness, in our appreciation, with the beautiful features of the object, and to subsume the resultant effect under the head of an appreciation of beauty simply. The marks of expensiveness come to be accepted as beautiful features of the expensive articles. They are pleasing as being marks of honorific costliness, and the pleasure which they afford on this score blends with that afforded by the beautiful form and color of the object.

Thorstein Veblen, The Theory of the Leisure Class: An Economic Study of Institutions (1899).

By habitually identifying beauty with reputability, it comes about that a beautiful article which is not expensive is accounted not beautiful.

Thorstein Veblen, The Theory of the Leisure Class: An Economic Study of Institutions (1899).

The taste of the more recent accessions to the leisure class proper and of the middle and lower classes still requires a pecuniary beauty to supplement the aesthetic beauty, even in those objects which are primarily admired for the beauty that belongs to them as natural growths.

Thorstein Veblen, The Theory of the Leisure Class: An Economic Study of Institutions (1899).

Hence has arisen that exaltation of the defective, of which John Ruskin and William Morris were such eager spokesmen in their time; and on this ground their propaganda of crudity and wasted effort has been taken up... And hence also the propaganda for a return to handicraft and household industry. So much of the work and speculations of this group of men... would have been impossible at a time when the visibly more perfect goods were not the cheaper.

Thorstein Veblen, The Theory of the Leisure Class: An Economic Study of Institutions (1899).

In aesthetic theory it might be extremely difficult, if not quite impracticable, to draw a line between the canon of classicism, or regard for the archaic, and the canon of beauty.

We can forgive a man for making a useful thing, as long as he does not admire it. The only excuse for making a useless thing is that one admires it intensely. All art is quite useless. ~ Oscar Wilde

Art is the symbol of the two noblest human efforts: to construct and to refrain from destruction.

Simone Weil, The Pre-War Notebook (1933-1939), published in First and Last Notebooks (1970) edited by Richard Rees.

The National Association for the Advancement of Colored People recognizes in "Song of the South" remarkable artistic merit in the music and in the combination of living actors and the cartoon technique. It regrets, however, that in an effort neither to offend audiences in the north or south, the production helps to perpetuate a dangerously glorified picture of slavery. Making use of the beautiful Uncle Remus folklore, "Song of the South" unfortunately gives the impression of an idyllic master-slave relationship which is a distortion of the facts.

Art is the most intense mode of Individualism that the world has known. I am inclined to say that it is the only real mode of Individualism that the world has known. Crime, which, under certain conditions, may seem to have created Individualism, must take cognisance of other people and interfere with them. It belongs to the sphere of action. But alone, without any reference to his neighbours, without any interference, the artist can fashion a beautiful thing; and if he does not do it solely for his own pleasure, he is not an artist at all.

Art is individualism, and individualism is a disturbing and disintegrating force. There lies its immense value. For what it seeks is to disturb monotony of type, slavery of custom, tyranny of habit, and the reduction of man to the level of a machine.

No art can be judged by purely aesthetic standards, although a painting or a piece of music may appear to give a purely aesthetic pleasure. Aesthetic enjoyment is an intensification of the vital response, and this response forms the basis of all value judgements. The existentialist contends that all values are connected with the problems of human existence, the stature of man, the purpose of life. These values are inherent in all works of art, in addition to their aesthetic values, and are closely connected with them.